2nd Star Productions’ Funny Money

Two hours of anarchic cacophony and classic pop guaranteed to prolong the craziness of your week

By Jane C. Elkin

2nd Star Productions does a lot right in staging Funny Money by Britain’s master of farce Ray Cooney. The pace of the frenetic comedy never drags. Actors are superb and spot-on in accents. Director Fred Nelson uses the stage for maximum clarity in this Gordian knot of accidents and lies. Jane B. Wingard’s set and Linda Swann’s costumes feel right. The problem is, it’s a farce. Or maybe that’s just me.
If your thirst for confusion borders on the masochistic, if you relish sexual innuendo, if you appreciate blubbering drunks and screaming matches, if you’re either hearing impaired or wish to be, then this is the show for you. Just don’t expect the Americanized Chevy Chase film version.
How many one-dimensional characters and compromising situations does it take to make a British farce? The more the merrier.
Decorous accountant Henry Perkins (Gene Valendo) accidentally swaps briefcases with a criminal. Finding himself a trillionaire, he plans to abscond with the money — only to be thwarted at every turn. Darling but boring wife, Jean (Mary Wakefield) crashes from teetotaler to drunk the moment he tells her to pack. Crooked Inspector Davenport (Michael N. Dunlop) observes Henry’s giddy trips to the pub loo where he counts the money, follows him home on suspicion of solicitation and is shuttled off to the dining room to ponder a lie while he awaits his bribe. Bill the Taxi Driver (Zak Zeeks) arrives early with the airport shuttle only to be repeatedly sent to the curb to ponder more lies while he awaits his fare. Plainspoken Detective Sgt. Slater (Robert Eversberg) reports from the morgue that Mr. Perkins was found murdered, clutching a briefcase containing papers and a cheese and chutney sandwich. Thus, a family member must identify the body, but not until Sgt. Slater is shuttled off to the kitchen to ponder more lies while he makes tea for the grieving widow. Dinner guests Vic and Betty (John Wakefield and Samantha Feikema) take sides in the Perkins’ domestic dispute, culminating in a wife-swapping plan; Betty longs to travel and Jean refuses to leave, but Vic is a good sport and even gets himself embroiled in the deception. And then there is Mr. Big (Ronald Araújo), a drug lord who keeps calling for his burfcrse until Bill the Taxi Driver blithely gives him the address.
Where’s Sherlock Holmes when you need him? How could two detectives in adjoining rooms hear hysterics without suspecting something? How does every compromising situation involve a cabal under the covers on the couch, convincing detectives it’s all one big bedroom romp?
Despite the script, performances are commendable. Valendo displays priceless calm and trance-like incredulity in the midst of chaos. Zeeks is audacious and sexy. Dunlop is believable as the cop-on-the-take. And Feikema sizzles in her quest for adventure.
Funny Money is two hours of anarchic cacophony and classic pop that is guaranteed to prolong the craziness of your week and generate a few belly laughs to cheer the winter blues.